English Intrinsic Value in Fiction

8/12/2019 English Intrinsic Value in Fiction

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CHAPTER I

INTRODUCTION

A. Background

Literature is a form of the idea of a person through the eyes of the social

environment around him , with a beautiful use of language . Literature comes as a

result of the author's reflection phenomena . Literature as works of fiction that have

a deeper understanding , not just a story of the author's imagination or fantasy , but

rather a form of creativity and mengola author in exploring the ideas in his mind .

ne form of literature is prose . prose is a work of fiction that was built through the

intrinsic elements . !hese elements combined author and intentionally made similar

to the real world complete with the events in it , so it really seems like there and

happening , this is the element that is causing the literary work " prose # is present .

Based on the above review paper is organi$ed so that the reader better understand

and gain knowledge about the readers of the novel as well as intrinsic elements of

the prose .

B. problem %ormulation!he formulation of the problem in this paper, is as follows&

. (nderstanding what is prose)

*. +hat are the lements -ntrinsic prose)

. destination

!he purpose of this paper, is as follows&

. !o know the definition of prose.*. !o know -ntrinsic lements of prose.


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CHAPTER II

DISCUSSION

-/!0-/1- 2AL( -/ %- !- /

3lot

3lot consist of exposition, rising action, climax of crisis, falling action, and

anding

%or example anali$ing prose about

4rs raddock By +illiam 1omerset 4augham

1. Exposition

!he first stage of fictional or dramatic plot, in which necessary background

information is provided ibsen5s A Dolls House . %or instance, begine with a

conversation between the two central character, a dialogue that fills the audience in

on events that occored before the action of the play begines, but which are

important in the development of it is plot.

Like in introduction has been depicted the information about character. -n 4rs

raddock, this book might be called also the triumph of love. !he early of the story begins with Bertha the niece of polly which is often called by the name of 4iss

Ley.

1he is a woman who verry attention with woman chance, what is at the epoch very

bridled and nothing, there is no ordinary freedom conduction by a man clan, like

giving a piece of mind. -t can be seen in the following 6uotation when Bherta makes

conversation with miss Ley.

7 i wash thinking that one must be very penetrative to discover a woman5semotion from the view of her back hair.

Bherta lought & 8 - don5t think - have any emotion to discover. - feel9she

sought for some way of expressing the sensation. - feel as if - should like to

take my hair down, "3. #

/ut in Bertha opinion she do not feel bridled by whoever. -f because of

bertha represent free woman will do which she will. -t can ce seen in the following

6uatiation when she apposing opinion ot his aunt.

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85 4iss Ley made no rejoinder, butlooked down at her paper. 1he hardly wondered

what her niece meant, having long ceased to be astonished at Bertha5s way and

doing: indeed, her only surpisre was that they sufficiently corroborated the common

opinion that Bertha was an independent young woman from anything might be

expected. 85 " 3. 9 *#

2. Rising Action

A set of conflict and crises that constitute the part of a play5s or story5s plot

leading up to the climax.

-n this rising action, the problem occurs at one when they traveleled on the

ontinent and seeing many churches, pictures and cities and finally they letting

down in miss Ley own flat which is bult in the George II problems take its

rise.4iss Ley feel not balmy again coexist of her niece. ;ifferent idea always

happened between them when their isc!sing " ro#$e%". In c"n #e open in the

&o$$owing '!ot"tion.

!he general result of their relations was that Bertha5s restlessness on this

particular day aroused in 4iss Ley no more 6uestion than was easily

explained by the warnth of her young blood: and her accentric curiosity inrespect of the gate on a very cold and unpleasant winter afternoon did not

even elicit from her a shurg of disapproval or an upraising of the eyebrows

in wonder. 85 "3.


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=e is a tall man with a big9boned and has age twenty9seven years old. =its name

dward raddok. +hwn the womwnt Bertha come in contact with dward. 1he

rectollected a period to at the time of they grew up with. A period of which wil

never to fogetting of. -n can be seen in the following 6uotation.

8were you going out)5 he asked

h, no,5 Bertha replied without strict regard to truth. 8 - just walked down to

the gate and - happened to cathch sight of you. 8-5m very glad. - see you so

seldom now, 4iss. Bertha. 8

7- wish you wouldn5t call me 4iss. Bertha, 8 she cried. 8it sounds horrid. 8

-t was worse than that, it sounded almost menial.

8whwnnwe were boy and girl we used to call each other by our hristian

names.

=e blushed a little, and his modesty filled Bertha with pleasure.

8yes, but when you came back six months ago you had changed so much > -

didn5t dare: and besides, you called me 4r. raddock.

8well, - won5t any more, she said, smilling. -5d much sooner call you

edward. 8 " 3. ?#.

(. C$i%"x!he turning point of the plot of a play or story. !he climax represent the

point of greates tension in the work. !he climax of john updike5s 85 A and 3,55 for

example, occurs whwn 1ammy 6uits his job as a cashier.

-n this part of the plot, writer would like to reflect the life of 4rs. raddok

after she felt that her husband doesn5t love her anymore. %inally, all famyly or

Bertha has kissed existence of unharmonious in their small famyly, and all famyly

try out to discuss about problems that happened among Bertha and dward %alingAction. But suddenly Bertha feel there5s something different with her stomach, she

feel if her baby will bear, and all famyly of Bertha contact dward and give him a

happy news about his wife iminediately will bear. -t can be seen in the following

6uotation&

8 it was still born. - was afraid it ws hopeless. @ou5d better go to Bertha

now, she want you. 1he doesn5t know about the child.5 Bertha was lying in

an attitude of extreme exhaustion& she lay on her back. +ith arms stretched


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in utter weakness by hes sides. =er face was grey with past anguish, her

eyes now were dull and lifeless, half closed, and her jaw hung almost as

hangs the jaw of a dead man. 1he tried to form as smile as she saw dward,

but in her feebleness the lips scarcely moved. 8 " 3. * #

%inally, after struggle which very hurt, Bertha bear a boy baby. 1o happy in

life of Bertha that godsend a boy baby. But that bliss do not take long terms.

;isaster befall Bertha and her famyly, the baby which just she bear suddenly pass

away. !his very makes Bertha beaten and sorrowful. -t can be seen in the following

6uotation when she wants to meet her baby.

8@ou must prepare yourself for a bad news, darling. @ou know9

8 =e isn5t dead ) 8she shrieker.

8-5m awfully sorry, dear. =e was still9born.5

8 h Cood D Croaned Bertha.5 "3. *E#

). *"$$ing Action

-n the plot of story or play, the action following the climax of the work yhat

moves it towards its denouement or resolution.

-n falling action, the problem begin slowly down through climax to fallingaction, the event begins whwn Bertha to forget her husband which not love her

anymore and to forget the accident that happen to her life and Bertha through her

day with sorrow and finally she has a difficult decision to leave dward though

Bertha still love very much with herr husband, but Bertha felt dward have changed

since their going home from honeymoon, nd Bertha also set mint to faraway from

her famyly. Bertha go lonely to ngland start his new life there. !his we can see

when Bertha deliver parting letter to dward.

8 ;ear dward,

- think we were wise to part. +e were too unsuited to one another, and our

difficulties could only have increased. !he knot of marriage between two

person of different temperament is so intricate that it can only be cut: you may

try unravel it. And think you are succeeding: but another turn shows you that

the tangle is only worse than ever, even time powerless. 1ome things are

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impossible: you cannot measures one man by another man5s rule. - am certain

we were wise to separate. 8 "3. ?F#

Bertha has taken difficult decision in her life. 1ee feel that her love story with

dward have ended, though heavily to her take this decision but she feel is the best

decision to her. %inaly Bertha set mindd on to open life sheet newly in ngland. 1he

walks of her beatiful story in London and walk of her bitter memory in London to

open new life in ngland. Bertha live lonely in London, actually Bertha very

disappointed with her husband and hope wills not meet with dward anymore it can

be seen in the following 6uotation.

85 !ime passed slowly. Bertha wrapped her pride about her like a cloak, but

sometimes it seemed too heavy to bear, and she nearly fainted. !he restaint

that see imposed upon her self was often intorelable: anger and hatred seethed

within her, but she forced herself to preserve the smiling face that people had

always seen. 1he suffered intensely from loneliness of spirit, for she had no

one to whom could tell unhappiness: it is terrible to have mo means of

expresing oneself, to keep imprisoned always the anguish that gnaws at one5s

heart9strings: it is well enough for the writer: he can find solace in this words.

=e can tellhis scretand yetnot betray it: but the woman has only silence. 85" 3.FG#

After she lived in ngland a month later Bertha move to 0ome. At first she

was hardly able to reali$e the change in her condition& for her at ourt leys had

impressed itself upon her with ghastly distincness, so that she could not imagine its

cessation. 1he was like a prisoner so long immured that freedomda$es him, and he

looks for his chains and cannot understand that he is free. But it isn5t for long terms

she go back to ngland and stayed there forever to forgetting her memori$e inLondon.

+. En ing , Rissing Action

!he following is the end part of the story, when bertha alone in her room and

remember memories of the past crowded upon her. 1he just received from her

famyly in London yhat dward just die because take down from horse and suddenly

she remembered the tall strong youth who had made her faint with love, and her

passion returned, overwhelming. %orgeting the real dward who had just died.


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Bertha feels regret that she felts his love and a protection against all the world. As

the following 6uotation.

But what the use now )

8 - should be mad if - began to love him again when it5s too late.5"3.*? #

And then she took the photograph of dward and without daring to look again.

1he tores the frame of dward and she think that must not forget it. -t can be seen

when Bertha looked round the room&

8- mustn5t leave anythink,5 she muttered.

"3. *?*#

!here days later was tthe funeral. !here was 6uite a large gathering in the drive

in front of ley house. !he black stable freemasons " Lodge /o. < , FEE#, of which

dward at his death. !hen came the members of the Local district council, of

dward had been chairman.

1etting& the time and place of a literary work that establish its context. !he

stories of 1andra isneros are set in the mid to late *Hth century, those of

james Ioyce in ;ublin, -reland in the early *Hth century.

haracter& An imagenary person that inhabits a literary work. Literary

character may be major or minor, static "unchanging# or dynamic "capable

of change#. -n 1hakespeare5s othello , ;esdemona is a major character, but

one who is static, like the minor character blanca. thello is a major

character who is dynamic, exhibiting an ability to change.

haracteri$ation& the means by which writers present and revea character.

Although techni6ues of characteri$ation are complex, writers typically

revealcharacters through their speech, dress, manner, and actions. 0eaders

come to understand the character 4iss mily in %aulkner5s story J A 0osefor milyJ through what she says, how she lives, and what she does.

%igurative language& A from of language use in which writers and speakers

convey something other than the literal meaning of their words. xamples

include hyperbole or exaggeration, litotes or understatement, simile and

metaphor, which employ comparison, and synecdoche and metonymy, in

which a part of a thing stand for the whole for example.

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3oin f 2iew& the angle of vision from which a story is narrated. 1ee

Narrator . A work5s point of view can be& first person, in which the narrator

is a character or an observer, respectively, objective, in which the narrator

knows or appears to know no more than the reader, omniscient, in which

the narrator knows everything about the characters: and limited omniscient,

which allows the narrator to know some things about the characters but not

everything.

!heme& !he idea of a literary work abtracted from its details of language,

character, and action, and cast in the form of a generali$ation. 1ee

discussion of ;ickinson5s 7 rumbling is not an instant5s actJ.

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CHAPTER IIIC-OSING

A. conclusion

prose is one form of a literary work. a prose fiction in the form of writing or words

and have intrinsic elements. A prosebiasanya tells of human life in their interaction

with the environment and each other. -n a prose, the authors make every effort to

direct the reader to the reality of life images through the stories contained in the

prose. lement 9 element that is intrinsic prose theme, character, disposition of

character, plot, setting K setting, mood, point of view, style, conflict and 4andate.

B. suggestion

%or the reader should be able to better understand the elements 9 especially the

intrinsic elements of literary works in prose and can find elements 9 elements in the

prose story with ease.

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English Intrinsic Value in Fiction

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